Relevant bibliographies by topics / Erlkönig

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Erlkönig'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Erlkönig"

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Wöhrle, Georg. "Goethes Erlkönig — altgriechisch." Philologia Classica II, no. I (June 2016): 77–81. http://dx.doi.org/10.21638/11701/spbu20.2016.107.

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Stein, Deborah. "Schubert's "Erlkönig:" Motivic Parallelism and Motivic Transformation." 19th-Century Music 13, no. 2 (1989): 145–58. http://dx.doi.org/10.2307/746652.

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Gibbs, Christopher H. ""Komm, geh' mit mir": Schubert's Uncanny "Erlkönig"." 19th-Century Music 19, no. 2 (1995): 115–35. http://dx.doi.org/10.2307/746658.

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Vanhese, Gisèle. "Erlkönig de Goethe et ses traducteurs français." Romantisme 29, no. 106 (1999): 109–18. http://dx.doi.org/10.3406/roman.1999.3457.

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Matošec, Matjaž. "Razvoj nemškega samospeva med letoma 1782 in 1878: deset uglasbitev Goethejeve balade Erlkönig." Musicological Annual 42, no. 1 (December 1, 2006): 25–34. http://dx.doi.org/10.4312/mz.42.1.25-34.

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Goethejev Erlkönig je eno največkrat uglasbljenih necerkvenih besedil v novejši zgodovini zahodne glasbe. Werner-Joachim Düring je naštel 131 uglasbitev pesmi; prva je nastala 1782, zadnja je izšla 1957. Izsledki analize desetih uglasbitev balade, nastalih med letoma 1782 in 1878, so podlaga za oris razvoja nemškega samospeva v obravnavanem obdobju.
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Aadam, Janin. "Goethes „Erlkönig” als kalter Verführer in transmedialen Umsetzungen." Studia Germanica Posnaniensia, no. 36 (July 4, 2015): 125. http://dx.doi.org/10.14746/spg.2015.36.10.

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Eder, Ulrike. "Johann Wolfgang von Goethe, Jens Thiele (Ill.): Der Erlkönig. Weitra: Bibliothek der Provinz 2007 / Johann Wolfgang von Goethe, Sabine Wilharm (Ill.): Der Erlkönig. Berlin: Kindermann Verlag 2013." ÖDaF-Mitteilungen 30, no. 1 (March 2014): 125–29. http://dx.doi.org/10.14220/odaf.2014.30.1.125.

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Salvador, Luis Eduardo Lino. "Manuel González Prada y la Traducción como Recreación: el Caso de “Erlkönig” de Johann Wolfgang Goethe." Cadernos de Tradução 41, no. 1 (January 15, 2021): 148–70. http://dx.doi.org/10.5007/2175-7968.2021.e77113.

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Este trabajo estudia la traducción de Manuel González Prada como parte del “programa internacionalizador y modernizante” propuesto por Antonio Cornejo Polar, que buscó inscribir a la literatura peruana en la modernidad a finales del siglo XIX. Así, el trabajo se divide en tres partes. La primera busca construir la “poética de la traducción” de Manuel González Prada como recreación a partir de sus comentarios u opiniones dispersos en sus ensayos. El segundo apartado, se centra en el interés del peruano por la balada germánica y la relación con su propia producción cristalizada en su libro Baladas. Finalmente, el tercer apartado busca describir, explicar y confrontar el proceso de traducción como recreación realizado por González Prada sobre el poema “Erlkönig” de Johann Wolfgang Goethe.
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Lagutina, I. N. "Two Forest Kings? Literary sources of V. Zhukovsky’s translation of the ballad Erlkönig." Voprosy literatury, no. 4 (August 28, 2020): 217–38. http://dx.doi.org/10.31425/0042-8795-2020-4-217-238.

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The article contains a comparative analysis of early European interpretations of Goethe’s poem Erlkönig and hypothesizes that it was under their influence that Zhukovsky introduced significant innovations in his translation. Already in the first English translations by M. G. Lewis and W. Scott, translators dispense with the naturphilosophical implication of Goethe’s original and enhance its folkloric dimension; the plot is structured according to the pre-romantic and romantic folk legends of evil and many-voiced forest ‘kings.’ The early French versions embark on a new tradition of ‘translating’ the title into the native language, revealing the semiotics of the image and making it more recognizable by a foreign culture. Zhukovsky’s idea of the Forest King is shaped by his contemporary culture; he integrates the German original not only into Russian demonology as described by Russian lexicons of the early 19th c., but also into the set of translation practices already established at the time when he was writing his ballad.
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Blass, Ethan. "The Men Who Knew Too Much: Reading Goethe's "Erlkönig" in Light of Hitchcock." Goethe Yearbook 28, no. 1 (2021): 225–42. http://dx.doi.org/10.1353/gyr.2021.0011.

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Dissertations / Theses on the topic "Erlkönig"

1

Isleif, Karl-Heinz. "Satan oder Erlkönig." Diss., lmu, 2012. http://nbn-resolving.de/urn:nbn:de:bvb:19-146926.

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Isleif, Karl-Heinz [Verfasser], and Klaus [Akademischer Betreuer] Vollmer. "Satan oder Erlkönig : Rezeption deutscher Musiktexte als Kulturspiegel / Karl-Heinz Isleif. Betreuer: Klaus Vollmer." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2012. http://d-nb.info/1026211131/34.

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Peitso, M. (Miika). "Rammsteins Lieder Dalai Lama und Rosenrot als Adaptionen von Johann Wolfgang von Goethes Gedichten Erlkönig und Heidenröslein." Bachelor's thesis, University of Oulu, 2016. http://urn.fi/URN:NBN:fi:oulu-201603181333.

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In dieser Kandidatenarbeit werden die Lieder Dalai Lama und Rosenrot der deutschen Band Rammstein und die Gedichte Erlkönig und Heidenröslein von dem deutschen Dichter Johann Wolfgang von Goethe untersucht. Das Ziel ist herauszufinden, ob die Lieder Rammsteins Adaptionen von den Gedichten von J.W. Goethe sich als Adaptionen betrachten lassen. Alle Werke werden literaturwissenschaftlich analysiert, damit die Adaptionsanalyse möglich wäre. Zum Beispiel werden die Allegorien, Symbole und andere Elemente der Bildhaftigkeit in den Werken gründlich vorgestellt. Zusätzlich zu der Bildhaftigkeit werden auch solche wesentliche Begriffe wie ‚Text‘, ‚Lyrik‘ und ‚Motiv‘ erklärt. Dann werden diese Elemente mithilfe der Theorie der Adaption miteinander verglichen, um zu verstehen, welche Elemente ähnlich oder unterschiedlich sind. Im Rahmen der in dieser Arbeit benutzten Theorie der Adaption ist es davon möglich zu schließen, ob Rammsteins Lieder Adaptionen von J.W. Goethes Gedichten sind
Tässä kandidaatintyössä tutkitaan saksalaisen yhtye Rammsteinin kappaleita Dalai Lama ja Rosenrot ja saksalaisen runoilija Johann Wolfgang von Goethen runoja. Tavoitteena on selvittää, voidaanko Rammsteinin kappaleita pitää J.W. Goethen runojen adaptaatioina. Kaikki teokset analysoidaan kirjallisuusteoriallisesti, jotta adaptaatioanalyysi olisi mahdollinen. Esimerkiksi teosten allegoriat, symbolit ja muut kielikuvalliset elementit esitellään perusteellisesti. Kielikuvallisuuden lisäksi selitetään myös keskeiset termit ’teksti’ ’lyriikka’ ja ’motiivi’. Tämän jälkeen näitä elementtejä vertaillaan teosten kesken adaptaatioteorian avulla, jotta ymmärretään, mitkä elementit ovat samankaltaisia tai erilaisia. Tämän opinnäytetyön yhteydessä käytetyn adaptaatioteorian pohjalta on siten mahdollista tehdä päätelmä, ovatko Rammsteinin kappaleet J.W. Goethen runojen adaptaatioita
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Sherman, Philip. "Where words leave off, music begins : A comparison of how Henry Purcell and Franz Schubert convey text through their music in the compositions Music for a while and Erlkönig." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2342.

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”The singer is always working through a text that in some way or another inspired the vocal line and its texture,” wrote American pianist, pedagogue, and author Thomas Grubb. But exactly how does a text inspire a composer to create this synergy between words and music? During the course of my studies at the Royal College of Music in Stockholm, I gradually began to deepen my knowledge and awareness of Henry Purcell and Franz Schubert. I was at once astounded by their ability to seemlessly amalgamate the chosen texts to their music, and decided that this connection required greater research. The purpose of this study was thus to gain a deeper understanding of how Purcell and Schubert approached the relationship between text and music by studying the two pieces Music for a while and Erlkönig. I also wished to discover any similarities and differences between the composers’ approaches to word painting, in addition to discerning the role of the accompaniment to further illustrate the narrative. I began by reading literature about the two composers as well as John Dryden and Johann Wolfgang von Goethe, the poets whose texts were set to music. Once a greater understanding of them had been attained, I proceeded to analyze the texts and music for a greater comprehension of Purcell’s and Schubert’s methods. For early inspiration, I listened to numerous versions of the pieces by different musicians on YouTube. Both Purcell and Schubert used various tools in their compositional arsenals to accomplish their effortless combination of text and music. Amongst others, Purcell employed tonal ambiguity, unexpected harmonies, and repetition, while Schubert made use of vivid imagery, inventive treatment of chromaticism, and unmistakable rhythmic motifs. The analysis demonstrated that, while both composers painted lively and dramatic pictures in their compositions, their methods were strikingly different. The role of the accompaniment in Music for a while leaves much to the individual taste and ability of the instrumentalist(s) performing to assist the singer in setting the scene. In contrast, Schubert instructs the pianist in Erlkönig explicitly how they are to play, while additionally the piano personifies the fifth character in the story, the horse. Indeed, the role of the singer in the two pieces is equally at variance with the other. With Purcell, the singer portrays a priest, while the singer in Erlkönig personifies four different voices, each with their own melody, character, and tessitura. I hope this study will inspire others to delve deeper into the material with which they work to offer a more profound understanding to themselves and, ultimately, the listener.
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Rolén, Harriet. "Erlkönigin und Eppelmann : Zur Übersetzung von Bildsprache und kulturspezifischen Elementen in einem politischen Text." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-28879.

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Chen, Wen Ching, and 陳汶青. "The Comparative Study between Schubert's “Erlkönig” and Liszt's “Erlkönig” from Collaborative Pianists' and Solo Pianists' Perspectives." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/10217720566688882271.

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碩士
國立臺南藝術大學
鋼琴合作藝術研究所
100
Franz Schubert has in his entire life written numerous works,encompassing some 600 Lieder, making the nineteenth-century Europe pinnacle of Lieder music. However, no more than 31 years as Schubert lived, his works received but only few acclaim. His fame increased greatly only after his death, which is believed that it was due to Franz Liszt, who paraphrased 55 pieces of Schubert's lieder from 1835 to 1846. Brought to stage, Schubert's music could finally be heard by the public, which has made him one of the world greatest musicians. This article will expatiate the character about two editions of Erlkönig，which is written by Schubert(1815) and Liszt, namely an adoption of Erlkönig from Zwoelf Lieder von Fr. Schubert fuer das Piano-Forte betragen von Fr. Liszt. And also will compare the difference between these compositions. This article will be divided into 3 sections. The first section briefly introduces the biography of the composer and that of the poet; the second section makes an analysis of the original Erlkönig, discussing the tonality and harmony adopted in this repertoire; the third section incorporates Liszt’s adaption of Erlkönig to compare the intensity, rhythmic figures and the disparate roles of the Lied and piano adaption taken by the performer. It highlights the importance of a pianist being versatile when playing music in different forms.
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廖子瑛. "The Analysis and Interpretation of Erlkönig by Franz Schubert." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/6pbv6q.

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碩士
國立臺南藝術大學
鋼琴合作藝術研究所
105
Erlkönig was composed on October, 1815 and Franz Schubert(1797-1828) wrote it for voice and piano when he was only eighteen years old. Erlkönig is originally a folk myth about how Erlkönig uses sweet words to seduce innocent children. The German great poet, Johann Wolfgang von Goethe (1749-1832), adapted the story and transformed it into a ballad. After reading it, Schubert then wrote music based on this poem. In the text of Erlkönig, there are four characters. Schubert delicately used voice and piano to describe the story and each character. For a collaborative pianist, playing techniques and interpretation of each character's feature are difficult when performing this song. Therefore, this thesis will deeply discuss this song in many phases and provide ways of collaborative interpretation between the voice and piano . The thesis consists of six chapters. The first chapter is an introduction which shows the researcher’s motivation and purpose, and specifies the range of this study and its methodology. In order to better know Schubert’s life experiences, compositions and writing styles, the second chapter briefly introduces Schubert’s growing background and Lieder. The third chapter explores Goethe's life and poetry. The fourth chapter analyzes the poem and the relation between the text and music of Erlkönig. The fifth chapter provides the suggestions of performance interpretation from a collaborative pianist's point of view. The last chapter summarizes Schubert's original compositional ideas of Erlkönig, and the importance of a close collaboration between the singer and pianist.
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Chen, Chou-Chuang, and 詹朝創. "Study on multi-role performance style of “Erlkönig”and Jekyll & Hyde”." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/68138703688982339270.

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碩士
中國文化大學
音樂學系碩士班西洋音樂組
99
Abstract In this thesis, we are studying about a major role plays multiple characters in the 《Erlkönig》 and pieces of 《Jekyll & Hyde》 . Firstly, we are discussing about how to adjust the changing skill of voice. Secondly, we would like to discuss about the advantage of those two pieces within the same construction of a major character play in varied roles in the background of different era and singing style. Thirdly, this thesis would like to discover the impact of two different singing styles toward to the body which making the voice. There are five chapters as following: 1. Instruction- we would like to discuss about the motivation and purpose of this thesis. 2. The background of the pieces a. the brief life story of the composer b. the connection between the composers and the pieces which they used c. the influence of the background of era toward to the pieces 3. The analysis of singing style a.. the analysis of the singing skills in the German b. the analysis of singing skill of opera c. the impact of two different singing styles toward to the body which making the voice 4. The analysis of music and explanation a. the analysis and explanation of《Erlkönig》 b. the analysis and explanation of《Jekyll & Hyde》 5. Conclusion – In this chapter, we would like to discuss the advantage and disadvantage of two different pieces which are played in the modern explanation (condition) and the combination of possibility and necessity. Keywords: 《Erlkönig》, 《Jekyll & Hyde》, Franz Schubert , Frank Wildhorn, multiple character, Lied, Musical.
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Books on the topic "Erlkönig"

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Eliasson, Olafur, and Eva Karcher. Erlkönig/prototypes. Köln: DuMont, 2009.

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Richter, Marita. Das " Erlkönig"-Syndrom: Eine kultur-kriminalistische Studie. Aachen: K. Fischer, 1998.

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Hörler, Rolf. Erlkönigs Tochter und die Achillesverse: Gedichte. Zelg-Wolfhalden: orte-Verlag, 1997.

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Tournier, Michel. Der Erlkönig. ( Unhold). Fischer (Tb.), Frankfurt, 1996.

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Goethe, Johann Wolfgang von, Johannes Saurer, and Peter Amade Foth. Johann Wolfgang von Goethes Erlkönig in zwei Akten. Konzeptschmiede Amade, 1999.

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Knauss, Sibylle. Erlkönigs Töchter. FISCHER Taschenbuch, 2015.

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Book chapters on the topic "Erlkönig"

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Meyer-Kalkus, Reinhart. "Goethe-Rezitationen: Erlkönig." In Geschichte der literarischen Vortragskunst, 539–58. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-04802-8_18.

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Cherdron, Alexander. "Fallstricke der Vater-Sohn-Beziehung: Saturn, Brutus, Steve Jobs, Kirk Douglas, Michel aus Lönneberga und der Erlkönig." In Väter und ihre Söhne, 97–107. Berlin, Heidelberg: Springer Berlin Heidelberg, 2020. http://dx.doi.org/10.1007/978-3-662-60363-5_7.

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Cherdron, Alexander. "Fallstricke der Vater-Sohn-Beziehung: Saturn, Brutus, Steve Jobs, Kirk Douglas, Michel aus Lönneberga und der Erlkönig." In Väter und ihre Söhne, 65–72. Berlin, Heidelberg: Springer Berlin Heidelberg, 2017. http://dx.doi.org/10.1007/978-3-662-54451-8_7.

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Bellemin-Noël, Jean. "Textes étrangers : Goethe. « Der Erlkönig »." In Interlignes. 2, 149–70. Presses universitaires du Septentrion, 1992. http://dx.doi.org/10.4000/books.septentrion.84166.

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Heimerdinger, Julia. "Franz Schuberts Erlkönig als Filmmusik." In musik | kultur | theorie, 339–50. Hollitzer Verlag, 2019. http://dx.doi.org/10.2307/j.ctvkjb4cd.21.

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"Angst und Empathie in Goethes „Erlkönig“." In Grenzen der Empathie, 475–86. Wilhelm Fink Verlag, 2013. http://dx.doi.org/10.30965/9783846755167_022.

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"4. Der Rhythmus des Unheimlichen im Erlkönig." In Der Rhythmus in der Rede, 113–54. De Gruyter, 1999. http://dx.doi.org/10.1515/9783110938449.113.

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"Tatsachen und Ereignisse in Goethes Erlkönig. Sprachkritisch-hermeneutische Untersuchungen zur Metaphorizität der Ballade." In Ältere Deutsche Literatur, Neuere Deutsche Literatur, 525–40. De Gruyter, 1985. http://dx.doi.org/10.1515/9783110846751-032.

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"Die Nachtseite der Aufklärung. Goethes Erlkönig im Lichte der zeitgenössischen Pädagogik (C. G. Salzmanns Moralisches Elementarbuch)." In Vom Humanismus zur Spätaufklärung, 688–700. Max Niemeyer Verlag, 2006. http://dx.doi.org/10.1515/9783110910711.688.

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Osipov, Petro, and Nataliia Bulyk. "TRANSLATION OF CLASSICS OF GERMAN POETRY IN UKRAINIAN." In Trends of philological education development in the context of European integration. Publishing House “Baltija Publishing”, 2021. http://dx.doi.org/10.30525/978-9934-26-069-8-9.

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Translation issues have long been in the field of view of translators and philologists-researchers. The focus was on the definition of the translation process in view of its psychological and lexical-semantic features and its perception as a certain creative action. The translation process is always functionally and thematically defined and controlled. Its main purpose is to provide the necessary information and establish communication between people of different languages and cultures. Considering translation as an interlingual communication process, we address the question of what language operations should be performed to ensure the integration of source and target texts and at the same time eliminate their interlinguistic structural differences at the conceptual and stylistic levels. The dominant of any translation is its goal (skopos), because differences in the definition of translation goals cause, in turn, differences in interlingual translation strategies. The translator's understanding of the text presupposes his knowledge of the history of society, institutions, social conditions, religious beliefs, culturally and situationally determined patterns of speech activity and behavior of the "source culture", as well as knowledge of the syntax and semantics of the "source text" and their structures. Each translation creates a dynamic connection and is an intercultural transfer of the text insofar as it takes into account the culturally specific comparison of language, situation and object in question. From the standpoint of hermeneutics and from the point of view of translation, the difference of cultures means the difference between "source culture" and thus – the culture of "source language" and "target culture" and thus - the culture of "target language". The analysis focuses on the translation of the most famous poems of German classics. In J. Goethe, along with the ballad "Erlkönig" ("The Forest King"), it is his popular excerpts from the tragedy "Faust". The translation was made by famous writers B. Hrinchenko and M. Rylsky. F. Schiller's poetry is represented by his ballads "Pirnach" ("DerTaucher") and "Glove" ("DerHandschuh"). The latter was translated by the famous poet and translator M. Orest. Heine's works were translated into Ukrainian by such well-known writers as I. Franko, L. Pervomaisky and others.
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